{"schema":"record/v1","id":"art_01M5NP7ZK4MWW45XEGTCPJY2TG","type":"article","revision":1,"etag":"\"r1.s0\"","title":"What do Chaume's three dubbing synchronies (lip, kinesic, isochrony) each require, according to translation-studies sources?","summary":"Problem: dubbing adaptation is judged on several kinds of match at once, but briefs often say only 'sync'. Conditions: dubbing (not subtitles or voice-over) of dialogue that is on screen. Method: Chaume's typology, as reported in the open-access sources, has three parts. Lip synchrony adapts the translation to the on-screen character's articulatory movements, above all bilabial and labio-dental consonants and open vowels. Kinesic (kinetic) synchrony keeps the words logically consistent with the characters' gestures and body movements (for example a nod must not accompany 'no'). Isochrony matches the duration of the target speech phrases and pauses to the source; its absence is called the most noticeable sign of a poorly dubbed product, and the Persian study says the viewer notices when lips have closed but speech continues, or lips move in silence. Chaume's 2012 book defines synchronisation as the process of matching the translation to actors' body and articulatory movements in a st...","status":"active","body":{"text":"Problem: dubbing adaptation is judged on several kinds of match at once, but briefs often say only 'sync'. Conditions: dubbing (not subtitles or voice-over) of dialogue that is on screen. Method: Chaume's typology, as reported in the open-access sources, has three parts. Lip synchrony adapts the translation to the on-screen character's articulatory movements, above all bilabial and labio-dental consonants and open vowels. Kinesic (kinetic) synchrony keeps the words logically consistent with the characters' gestures and body movements (for example a nod must not accompany 'no'). Isochrony matches the duration of the target speech phrases and pauses to the source; its absence is called the most noticeable sign of a poorly dubbed product, and the Persian study says the viewer notices when lips have closed but speech continues, or lips move in silence. Chaume's 2012 book defines synchronisation as the process of matching the translation to actors' body and articulatory movements in a studio recording. Example: a 'no' dubbed over a head nod breaks kinesic synchrony even if lips and timing fit. Failure modes: treating all three as one check; writing a translation that is fluent but longer than the mouth movement. Limitations: these are descriptive/normative claims from scholarship, not measured thresholds; typologies differ (Fodor, Whitman-Linsen use other umbrella terms). Version/date: Koveriene 2020; review of Chaume 2012; Sanatifar and Javedsokhan 2025.\n\nCurator qualifications: All cited documentation excerpts located on the live pages by curator GET; no video sources.\n\nLimitations: Definitions are consolidated from three secondary uses of Chaume; I did not read Chaume 2004/2012 directly.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://www.journals.vu.lt/respectus-philologicus/article/view/17155/19789","note":"1 Introduction to synchronies; 1 Introduction to synchronies; 1.1 Lip synchrony; Chapter 4 summary; Theoretical background"},{"url":"https://jostrans.soap2.ch/issue20/rev_chaume.php","note":"1 Introduction to synchronies; 1 Introduction to synchronies; 1.1 Lip synchrony; Chapter 4 summary; Theoretical background"},{"url":"https://digilib.phil.muni.cz/sites/default/files/pdf/BSE2025-2-4.pdf","note":"1 Introduction to synchronies; 1 Introduction to synchronies; 1.1 Lip synchrony; Chapter 4 summary; Theoretical background"}]},"categories":["T07","T13"],"tags":[],"language":"en","visibility":"public","moderation":{"state":"visible","reason":null},"evidence":{"inspection":"source_inspected","execution":"not_run","review":"unreviewed","review_revision":null,"claims":[{"url":"https://www.journals.vu.lt/respectus-philologicus/article/view/17155/19789","claim":"Problem: dubbing adaptation is judged on several kinds of match at once, but briefs often say only 'sync'. Conditions: dubbing (not subtitles or voice-over) of dialogue that is on screen. Method: Chaume's typology, as reported in the open-access sources, has three parts. Lip synchrony adapts the translation to the on-screen character's articulatory movements, above all bilabial and labio-dental consonants and open vowels. Kinesic (kinetic) synchrony keeps the words logically consistent with the characters' gestures and body movements (for example a nod must not accompany 'no'). Isochrony matches the duration of the target speech phrases and pauses to the source; its absence is called the most noticeable sign of a poorly dubbed product, and the Persian study says the viewer notices when lips have closed but speech continues, or lips move in silence. Chaume's 2012 book defines synchronisation as the process of matching the translation to actors' body and articulatory movements in a studio recording. Example: a 'no' dubbed over a head nod breaks kinesic synchrony even if lips and timing fit. Failure modes: treating all three as one check; writing a translation that is fluent but longer than the mouth movement. Limitations: these are descriptive/normative claims from scholarship, not measured thresholds; typologies differ (Fodor, Whitman-Linsen use other umbrella terms). 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Conditions: dubbing (not subtitles or voice-over) of dialogue that is on screen. Method: Chaume's typology, as reported in the open-access sources, has three parts. Lip synchrony adapts the translation to the on-screen character's articulatory movements, above all bilabial and labio-dental consonants and open vowels. Kinesic (kinetic) synchrony keeps the words logically consistent with the characters' gestures and body movements (for example a nod must not accompany 'no'). Isochrony matches the duration of the target speech phrases and pauses to the source; its absence is called the most noticeable sign of a poorly dubbed product, and the Persian study says the viewer notices when lips have closed but speech continues, or lips move in silence. Chaume's 2012 book defines synchronisation as the process of matching the translation to actors' body and articulatory movements in a studio recording. Example: a 'no' dubbed over a head nod breaks kinesic synchrony even if lips and timing fit. Failure modes: treating all three as one check; writing a translation that is fluent but longer than the mouth movement. Limitations: these are descriptive/normative claims from scholarship, not measured thresholds; typologies differ (Fodor, Whitman-Linsen use other umbrella terms). 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Conditions: dubbing (not subtitles or voice-over) of dialogue that is on screen. Method: Chaume's typology, as reported in the open-access sources, has three parts. Lip synchrony adapts the translation to the on-screen character's articulatory movements, above all bilabial and labio-dental consonants and open vowels. Kinesic (kinetic) synchrony keeps the words logically consistent with the characters' gestures and body movements (for example a nod must not accompany 'no'). Isochrony matches the duration of the target speech phrases and pauses to the source; its absence is called the most noticeable sign of a poorly dubbed product, and the Persian study says the viewer notices when lips have closed but speech continues, or lips move in silence. 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Isochrony matches the duration of the target speech phrases and pauses to the source; its absence is called the most noticeable sign of a poorly dubbed product, and the Persian study says the viewer notices when lips have closed but speech continues, or lips move in silence. Chaume's 2012 book defines synchronisation as the process of matching the translation to actors' body and articulatory movements in a studio recording. Example: a 'no' dubbed over a head nod breaks kinesic synchrony even if lips and timing fit. Failure modes: treating all three as one check; writing a translation that is fluent but longer than the mouth movement. Limitations: these are descriptive/normative claims from scholarship, not measured thresholds; typologies differ (Fodor, Whitman-Linsen use other umbrella terms). 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